In spite of many researches devoted to Chris Marker’s La Jetée, the fact that this film principally relies on an abyss in the narrative line isn’t sufficiently investigated. Nearly all of its main events can be explained in terms of a causal narr...
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https://www.riss.kr/link?id=A104199653
이윤영 (연세대학교)
2011
Korean
크리스 마커 ; <환송대> ; 불가능한 기억 ; 기억의 영화 ; 알프레드 히치콕 ; <현기증> ; 사진 ; Chris Marker ; La Jetée ; impossible memory ; cinema of the memory ; Alfred Hitchcock ; Vertigo ; photography
KCI등재
학술저널
799-823(25쪽)
3
0
상세조회0
다운로드다국어 초록 (Multilingual Abstract)
In spite of many researches devoted to Chris Marker’s La Jetée, the fact that this film principally relies on an abyss in the narrative line isn’t sufficiently investigated. Nearly all of its main events can be explained in terms of a causal narr...
In spite of many researches devoted to Chris Marker’s La Jetée, the fact that this film principally relies on an abyss in the narrative line isn’t sufficiently investigated. Nearly all of its main events can be explained in terms of a causal narrative development, except the last scene where an abyss emerges in the narrative line: the image of a man’s childhood memory is finally revealed as that of his own death. This conception can simply be defined as an ‘impossible memory’. The profound stratum of the film, an pure mental love story with a woman in one’s memory, is a total expansion of this ‘impossible memory’. Chris Marker draws out this conception from his unique interpretation of Alfred Hitchcock’s Vertigo. According to Marker, its Part Two, which begins with the appearance of Judy, can be interpreted as a pure lie of a person who has an insane memory. The visiting scene to the Muir Woods National Park, which is directly cited in La Jetée with modifications, is clearly related to the ‘impossible memory’, in the sense that the heroine speaks of what she didn’t experience. However, in a full confidence, her statement causes an significant movement in the mentality of the hero, where the spacial vertigo (acrophobia) transforms into temporal one. If we accept the thesis of Roland Barthes, according to which the essence of the photography is “it-was-there”, this medium raises in itself an insupportable melancholy of time travel. La Jetée, which is almost exclusively composed of the photographs, makes this emotion the movement itself of the film. Since the attribute of the memory is also fragmentary, inexplicable and contradictory, La Jetée finally belongs to the big stream of ‘cinema of the memory’, which was initiated by Alain Resnais’ Hiroshima, Mon Amour (1959).
참고문헌 (Reference)
1 이윤영, "타르코프스키의 <솔라리스>와 각색의 문제" 문학과영상학회 9 (9): 151-175, 2008
2 이자혜, "크리스 마르케의 <태양 없이 Sans Soleil>에 나타난 시간의 재현 방식 연구" 한국프랑스학회 72 : 567-589, 2010
3 마커, "북녘사람들" 눈빛 2008
4 이윤영, "기억, 사회, 영화—알랭 레네의 <히로시마 내 사랑>을 중심으로" 월인 2010
5 Gautier, "l’article de “Chris Marker" 2009
6 Marker, Chris., "The Pathéorama"
7 Ffrench, "The Memory of the image in Chris Marker’s La Jetée" LIX (LIX):
8 Hilliker, Lee, "The History of the Future in Paris: Chris Marker and Jean-Luc Godard in the 1960s" 24 (24): 2000
9 Marker, "Staring Back" The MIT P 2007
10 Sandro, "Singled out by history: La Jetée and the aesthetics of memory" French Cultural Studies 1999
1 이윤영, "타르코프스키의 <솔라리스>와 각색의 문제" 문학과영상학회 9 (9): 151-175, 2008
2 이자혜, "크리스 마르케의 <태양 없이 Sans Soleil>에 나타난 시간의 재현 방식 연구" 한국프랑스학회 72 : 567-589, 2010
3 마커, "북녘사람들" 눈빛 2008
4 이윤영, "기억, 사회, 영화—알랭 레네의 <히로시마 내 사랑>을 중심으로" 월인 2010
5 Gautier, "l’article de “Chris Marker" 2009
6 Marker, Chris., "The Pathéorama"
7 Ffrench, "The Memory of the image in Chris Marker’s La Jetée" LIX (LIX):
8 Hilliker, Lee, "The History of the Future in Paris: Chris Marker and Jean-Luc Godard in the 1960s" 24 (24): 2000
9 Marker, "Staring Back" The MIT P 2007
10 Sandro, "Singled out by history: La Jetée and the aesthetics of memory" French Cultural Studies 1999
11 Chris Marker, "Sans Soleil"
12 Fort, "Only (a) memory can save us now? The instant of death in Chris Marker’s La Jetée and Maurice Blanchot’s L’Instant de ma mort" 14 (14): 2010
13 Lindroos, "Now-Time|Image-space: Temporalization of Politics in Walter Benjamin’s Philosophy of History and Art" Sophi Jyväskylä University 1998
14 "L’Avant-Scène Cinéma: spécial courts métrages" 1964
15 Chris Marker, "La Jetée"
16 Barthes, "La Chambre claire: note sur la photographie" 1980
17 Deleuze, "Cinéma I: L’image-mouvement" Les Éditions de Minuit 1985
18 Bazin, "Chris Marker—Lettre de Sibérie" 1998
19 Pourvali, "Chris Marker" Cahiers du cinéma 2003
20 Cooper, "Chris Marker" Manchester U. P 2008
21 Marker, Chris., "A free replay: notes sur Vertigo" (400) : 1994
다큐멘터리극의 상상력: 하비 밀크 사건을 향한 청각기억의 확장
한류와 이미지 공간의 정치: 비판적 리저널리즘을 위한 문화지리의 재구성
<식객>의 스토리 보강을 위한 포스트 프로덕션: 분할 화면과 유사-내레이션
학술지 이력
연월일 | 이력구분 | 이력상세 | 등재구분 |
---|---|---|---|
2026 | 평가예정 | 재인증평가 신청대상 (재인증) | |
2020-01-01 | 평가 | 등재학술지 유지 (재인증) | |
2019-08-06 | 학회명변경 | 영문명 : Korean Association Of Literature And Film -> The Korean Association Of Literature and Film | |
2017-01-01 | 평가 | 등재학술지 유지 (계속평가) | |
2013-01-01 | 평가 | 등재학술지 유지 (등재유지) | |
2010-01-01 | 평가 | 등재학술지 유지 (등재유지) | |
2008-01-01 | 평가 | 등재학술지 유지 (등재유지) | |
2005-01-01 | 평가 | 등재학술지 선정 (등재후보2차) | |
2004-01-01 | 평가 | 등재후보 1차 PASS (등재후보1차) | |
2003-01-01 | 평가 | 등재후보학술지 선정 (신규평가) |
학술지 인용정보
기준연도 | WOS-KCI 통합IF(2년) | KCIF(2년) | KCIF(3년) |
---|---|---|---|
2016 | 0.17 | 0.17 | 0.2 |
KCIF(4년) | KCIF(5년) | 중심성지수(3년) | 즉시성지수 |
0.23 | 0.26 | 0.491 | 0.04 |